“Concept and Aura” or: Homogeneity and Analogy
In 1979, Jean-Francois Lyotard wrote in his study “The Postmodern Condition” (La condition postmoderne) that a multitude of discourses – each with its own rules of the constitution and link of assertions – replaces the big sketches or drafts. He described these discourses as isolated “linguistic games”. Klie was busy with the immanent “linguistic games” of art, not so much with those of the “operating system of art”.
In his art, he strove for “analogy” with the world. “Analogous” as in science, the complete understanding of possible significations of things is only made accessible by thorough handling of the context on all levels. The works are interpreted in different contexts which change or differ according to the spectator or to the audience as well as according to the interest of the critics and other professional mediators or agents.
Klie did so in painting manner with all the artistic positions which were of significance for him. In the Eighties, there were mainly the basic ideas of Magritte’s art theory which he took up and pursued in the sense of further post-modern development. In some of his work, even Magritte and his theory system became the pictorial subject, e.g. in the bipartite picture “Die Kunsttheorie“ “The Art Theory” (1985). Here Klie quoted the composition of the Brussels Magritte-drawings “Der Sprachgebrauch“ (“The Use of Diction”, 1927). Into the comic bubble shapes the main concepts of Magritte’s art theory were inserted as well as his signature. In his “linguistic-philosophical pictures”, Magritte wanted to illustrate that words are not the things respectively the ideas themselves, but only their conventional conceptions. Klie now referred this linguistic-theoretical discernment to Magritte’s concepts and his signature. He painted pictures about pictures about pictures.